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VP9_AD_OneSuite_Stash.indd 1 5/13/09 4:01 PM Even 29 years after his death, Marshall McLuhan, the iconoclastic stash University of Toronto English professor and master of the one-liner, is still DVD MAGAZINE 58 confusing students (and magazine editors) about the nature of media and technology and how they affect our lives and society. Stash Media Inc. Editor: Stephen Price His ubiquitous “the medium is the message” has always smacked of an Publisher: Greg robins over-reach to me but the quirky Canadian also uttered one of my favorite Managing editor: HEATHER GRIEVE great truths: “We shape our tools, and then our tools shape us.” Associate publisher: MARILEE BOITSON Few quotes are as perfectly suited to an industry so completely Associate editor: ABBEY KERR technology-dependent as animation, VFX and motion design. New Motion+New Sound+New Code Account manager: APRIL HARVEY According to McLuhan, a knife is an extension of your hand and so, Business development: Pauline Thompson running the metaphor to its natural conclusion, your computer, software Preview/montage editor: packages and peripherals are extensions of your brain, your nervous HEATHER GRIEVE system, your hands, your eyes, and in the case of that highly personal 9 Preview opening animation: TANTRUM project, your heart. 0 Technical guidance: IAN HASKIN There is little doubt that evolution favors those who master the tools motion graphics festival Cover image: STUDIO AKA of their trade but McLuhan has another great one-liner for those who www.MGFest.com/09/Atlanta/ immerse themselves too deeply in the digital side of the day to day and WWW.STASHMEDIA.TV lose track of the bigger picture: ISSN 1712-5928 “We don’t know who discovered water, but we know it wasn’t the fish.”

Legal things: Stash Magazine and Stash DVD are published 12 times per year by Stash Media Inc. All rights reserved and contents Washington DC Motion Graphics Festival 2009 copyright Stash Media Inc. No part of this booklet nor the Stash DVD may be copied Stephen Price without express written permission from Editor the publisher. Stash Media Inc. does not promote or endorse products, services or New York, June 2009 events advertised by third party advertisers. Submissions: www.stashmedia.tv/submit [email protected] November 19-22 Subscriptions: www.stashmedia.tv Contact: Stash Media Inc. 494-1641 Lonsdale Avenue, North Vancouver, BC V7M 2J5 Canada. Curated in New York. Printed in Canada. stash 58.01 stash 58.02

Audi “Filter” Pepsi International TVC :52 “Flight of the Penguin” TVC :60 Agency: Agency: movement we realized just how kempertrautmann GmbH BBDO New York goofy they actually are. It was a fun challenge to capture that quality Director: Director: and keep it realistic at the same Andrew Ruszala Traktor time - especially with the addition Production: Production: of a jet-pack.” MARKENFILM GmbH & Co. KG Traktor, Venice CA For BBDO New York Animation/VFX: Animation/VFX: CCOs: David Lubars, Bill Bruce INFECTED Postproduction Framestore, NY Copy: Brian Donovan www.infected-post.de www.framestore.com AD: Mike Boulia German studio INFECTED Framestore NY puts their wealth EP: Regina Ebel Postproduction wrestles with of fur and feather creation tools Asst producer: Regina Iannuzzi 50 million+ particles per shot to (developed for The Golden Ex music producer: Loren Parkins elegantly express how Audi’s Compass and The Chronicles of For Traktor clean diesel filter system reduces Narnia: Prince Caspian) to work Director: Traktor nitrogen oxide emissions by bringing a penguin named Gunnar up to 90 percent. “Our aim to life for Pepsi. For Framestore Flame lead: Murray Butler was to demonstrate this highly Framestore producer Jennifer technical concept in a dramatic Sr Flame: Ben Cronin Dewey: “The performance of the VFX supers: Murray Butler, way – paramount was the idea of penguin was a big challenge for using an unconventional pictorial which made it pretty exhausting. For Audi 3D: Christian Keller, Tim Borgmann Andy Walker our animators – it was crucial that CG leads: Andy Walker, language to focus attention on the Another challenge was to handle Head of marketing Flame: Dirk Urbaniak Gunnar’s actions didn’t feel too the massive amount of caching communications: Lothar Korn Seth Gollub filtering process itself, rather than For DIGITAL STRAIK human or intentional. Creating the data produced by the simulation Head of : Michael Finke VFX Sr producer: Jenn Dewey on a technical, abstract machine. Flame: Niko Papoutsis interaction between the penguin software. The project required VFX HOP: Laney Gradus “The most important technical For kempertrautmann GmbH and the snow was also critical. one terrabyte of simulation data, Music: MassiveMusic Amsterdam challenge was to simulate the CDs: Jens Theil, Gerrit Zinke We shot pieces of snow moving Toolkit 12 eight-core processors, 1,000 Alternate music version (included large amount of particles and still ADs: Julia Wolk, Florian Schimmer in camera but because we didn’t Maya, Houdini, Flame, Nuke, hours from the 3D department in making of): Malte Hagemeister be able to control them to the Managing partner: Andrea Bison know his exact actions we also Shake, proprietary Framestore and 500 hours from the 2D (Stylophon) needs of the choreography. For added CGI snow around his feet.” software department.” For INFECTED Postproduction most of the shots typically 2-10 Toolkit Editor: Hendrik Smith Lead animator Seth Gollub: “When Watch Behind the Scenes on hours were needed for one render For DMDA Softimage, emFluid, Flame Producer: Sven Bensemann we started studying penguin the DVD pass (15-25 minutes per frame), Director: Andrew Ruszala stash 58.03 stash 58.04 For Saatchi & Saatchi, LA Pepsi “Rising“ Ex CD: Mike McKay Toyota Prius “Harmony”, TVC :60 CD: Andrew Christou “MPG” Integrated design CD: TVCs :30 x 2 Agency: Ryan Jacobs CLM / BBDO ACD/AD: Sean Farrell Agency: Saatchi & Saatchi, LA Director: AD: Tito Melega Daniel Kleinman Writer: Simon Mainwaring Director: Director integrated production/ Mr. Hide Production: multimedia: Tanya LeSieur Rattling Stick Sr producer: Jennifer Pearse Production: The Sweet Shop, LA VFX: For The Sweet Shop, LA Animation/VFX: Framestore Director: Mr. Hide Perceptual Engineering www.framestore.com EP: Stephen Dickstein, Brickyard Daniel Kleinman and the Susan Rued Anderson Fin Design branch of Framstore re-team DOP: John Toon www.perceptual-engineering.com for some grandly scaled (but AD: Guy Treadgold www.brickyardvfx.com ultimately mild) teen rebellion on Production designer: Rick Kofoed www.findesign.com.au behalf of Pepsi and CLM / BBDO. Offline editor: Nathan Pickles Michael Stanish VFX producer at Aukland, NZ, studio Perceptual For The Sweet Shop, Auckland Framestore: “As to be expected, Engineering head up the VFX Global EP: Sharlene George the biggest challenge was the team (including Brickyard in the Line producer: Larisa Tiffin sheer volume of CG elements US and Fin Design in Australia) to Casting director: Suzanne McAleer in this mountain of objects stitch together the 200 carefully representing the experience of late For Perceptual Engineering costumed and choreographed adolescence – some of which are Lead VFX/Flame: Jon Baxter performers in this ambitious pair of part physical models but many spots built on the concept of “the For Bikini Edit of which are entirely computer For CLM / BBDO For Framestore Toolkit harmony between man, nature Online editor: Avi Oron, generated.” Creatives: David Bertram, VFX super: William Bartlett Flame, Maya, Houdini and machine” for the launch of the Leo Berne CG super: Simon French For Co3 third-generation 2010 Toyota Prius Watch Behind the Scenes on CDs: Jean-Francois Sacco, 3D team: Alex Doyle, Dan Seddon, Telecine: Dave Hussey hybrid. the DVD. Gilles Fichteberg Jabed Khan, Paul Denhard, Paul Producer: France Monnet Jones, Pol Chanthasartratsarmee, For Agoraphone Watch Behind the scenes on Mary Swinnerton, Paul Chandler Music super: Beth Urdang the DVD. For Rattling Stick Producer: Michael Stanish Director: Danny Kleinman Sound Design: Human PA: Pete Jones Producer: Johnnie Frankel Audio Mix: Lime Studios stash 58.05 stash 58.06

Tiger Beer “New York”, Adidas “Spark” “London”, “Paris” TVC :38 TVCs :30 x 3 Client: Agency: Asia Pacific Breweries Ltd 180 Amsterdam Agency: Director: Saatchi & Saatchi Rupert Sanders Worldwide Production: Director: MJZ London Damon Duncan VFX: Animation/VFX: The Mill Oktobor www.the-mill.com www.oktobor.com French football legend Zinedine specific colors, the result was For The Mill Growing three international cities Zidane’s search for the origins the hero characters and football Producers: Matt Williams, from a single drop of Tiger beer of the super human talents of boots were made to stand out Darren O’Kelly presented a rare set of hurdles for 21-year-old Argentine football more prominently. Next, mattes Shoot super: Jimmy Kiddell Auckland effects studio Oktobor. phenom Lionel Messi provides the were created to achieve layers Telecine: Adam Scott of separation and enhance the Lead Flame: Richard de Carteret Damon Duncan, Oktobor director story arc for this spot launching two dimensional effect before Lead Shake: Pete Hodsman and head of 3D: “The biggest the F50i soccer boot from Adidas. finally giving the whole film an Shake assist: Ben Smith, Ben technical challenge we faced was The Mill London combines matte unusual golden brown hue that Perrot, Vanessa Duquesney the sheer volume of information the dispersion of light and the For Saatchi and Saatchi Flame: Lakshman paintings, 3D, Flame and Shake produced an unnatural look and Additional flame: Gary Driver and detail that each shot required. secondary caustic light refracted Worldwide Anandanayagam work woven together with a complemented the cyan football kit Matte painters: Jimmy Kiddell, There were 100,000 bricks through the surfaces,” recalls ECD: Adrian Miller Colorist: Pete Ritchie complex grade aiming to give the and boots.” Dave Gibbons, Can Y. Sanalan in a scene from the London Duncan. “These take a heavy toll Head of design: Gigi Lee when it comes to render time, so Audio: Liquid spot the feel of a graphic novel. Assist: John Price commercial, all of them particles Sr designer: Nazly Kasim For MJZ London 3D supers: Jordi Bares controlled through scripted we took a lot of care refining the Creative group head: Primus Nair Toolkit Adam Scott, head of telecine Director: Rupert Sanders 3D: Suraj Odera, Sergio Xisto, parameters written inhouse.” scenes and our settings to ensure Producers: Shirren Lim, 3ds Max, Brazil R2, Particle Flow at the Mill: “The source material Producer: Nell Jordan we could deliver the project on Kay Ahmad was 35 mm, HD video and data Naweed Khan Each wire in the Paris spot was time.” Schedule: three months. capture so the final ad had to For 180 Amsterdam For Oktobor For Work hand animated ensuring no single seamlessly blend these different CD: Andy Fackrell For Asia Pacific Breweries EP: Amanda Chambers Editor: Neil Smith growth pattern was repeated. formats together. By adding a Creatives: Peter Albores, Director of group commercial: Director: Damon Duncan Martin Terhart Toolkit: “The New York crystal spot was Edmond Neo lot of contrast and sharpness 3D: Rhys Dippie, Craig Speakman, Producer: Joe Togneri Flame, Shake, Massive, challenging from a rendering Assistant GM: Tan Jwee Peng to the material as a base layer Damon Duncan, Gary Sullivan Combustion, Baselight perspective; we wanted to capture Sr brand manager: Patsy Lim and pushing the saturation of stash 58.07 stash 58.08

N.A.S.A. “A Volta” OFFF 2009 3:13 Event titles 4:05

Record label: Director: Squeak E Clean Ilya Abulhanov Productions Animation/VFX: Director: Prologue Films Alexei Tylevich www.prologuefilms.com Animation: Aspiring to capture the art of Logan “failing gracefully” for the opening www.logan.tv titles of the 2009 OFFF conference in Lisbon, Prologue Films director Another day, another drug Ilya Abulhanov designed this deal gone wrong in a dark and allegorical world inhabited with seedy metropolis – a familiar dark characters, uncertain of tale in a far from typical music their future in an eerie dystopian video for collaborative musical landscape. artists N.A.S.A., who proposed the creative pairing of Logan’s “We wanted to create a narrative motion skills with the illustration set in the ‘pause mode’, presenting and sculpture talents of LA- a collective of individuals in the based artists Carlos Ramirez and small wooden figurines that Logan For Squeak E Clean Productions midst of preparation, hesitation, Armando Lerma, aka The Date converted into 3D. “I thought it EP: Susan Applegate alertness and relief, who stand Farmers. would be fun to turn them into alone, but at the same time are For Logan characters and give them names part of the united bulk of remains,” For Prologue Films Completed over the course of Director: Alexei Tylevich and personalities, let them interact recalls Prologue producer Designer/director: Ilya Abulhanov three months using Nuke, Maya VFX super/lead 3D: Joshua and see what happens,” adds Elizabeth Newman, adding the Producer: Elizabeth Newman and After Effects, Logan director Cortopassi Tylevich. “I wanted a world that For The Date Farmers design was kept “restrictive in EP: Kyle Cooper Alexei Tylevich recalls, “We were Editing/sound: Volkert Besseling had a stop-motion feel but had no Carlos Ramirez, Armando Lerma terms of elaborate camera moves Sound design/music: HECQ free to use and remix anything we EP: Kevin Shapiro perspective and had a hand-made or extensive 3D to focus more wanted from the Date Farmers Lead AE compositor: Kevin Stein Toolkit Toolkit look. The absence of perspective on composition, characters, pre-existing artwork.” 3D modeling: Terry Wang Maya, Nuke, After Effects After Effects, Cinema 4D, and frenetic camera moves helped understated typography and AE animation: James Wang Photoshop, Illustrator, In addition to their paintings create the claustrophobic feeling of color.” Design, production and Particle dynamics: Mat Rotman reflecting Mexican-American an overpopulated city and seemed animation took one month to 3D modeling/lighting/texturing: heritage rooted in California pop to go well with the Date Farmers complete. Vincent Wauters culture, the artists also make flat aesthetic.” 3D modeling: Julien Forest stash 58.09 stash 58.10

2009 MTV Movie Awards “Capitu” Broadcast design 1:15 Broadcast design :33 animations were edited together For Lobo Toolkit with short live-action clips from the CDs: Mateus de Paula Santos, After Effects series, and the entire sequence Carlos Bêla. Watch Behind the Scenes on Director: Client: was then printed sequentially, Concept: Carlos Bêla, Roger the DVD Ilya Abulhanov Globo Networks frame by frame, on different kinds Marmo, Mateus de Paula Santos Animation/VFX: Director: of paper. These sheets were glued Assistant animator: Rachel Moraes Prologue Films Lobo on top of each other, resulting in Production: João Tenório. www.prologuefilms.com a stack of paper that had the first Music: Tim Rescala Production: frame of the opening at the top If there’s one name to remember The Ebeling Group and the last frame at the bottom. after watching Stash 58, it’s Animation: probably Ilya Abulhanov. The “We mounted the stack below Lobo youngest of Prologue Film’s a table-top digital camera and www.lobo.cx creative directors, Abulhanov proceeded to rip and tear the packs a fierce yet broad-based Updating the decollage technique paper sheets one by one, slowly design punch as seen in work of post-Dada European artists like revealing each layer underneath. like the title sequence for Guy Wolf Vostell, Mimmo Rotella and This process was photographed at Ritchie’s RockNRolla, the 2009 Jacques Villeglé, Lobo literally regular intervals, and the pictures OFFF Lisbon titles (that you just tears through the themes of were imported back into After watched) and this lightly surreal 19th-century Brazilian novel Dom Effects as a sequence, where it Kodachrome-colored show Casmurro to create this open for received some slight color and package for the 2009 MTV Movie the literary classic’s TV mini-series time adjustments. Awards. adaptation. “The result was the same For Prologue Films The studio says they wanted animation and live-action CD: Ilya Abulhanov the aesthetic and the animation sequence we started with, only Producer: Elizabeth Newman technique to be fully integrated, fractured and reassembled in Production coordinator: “which meant the ripped paper such a way that never allows Lee Buckley should be more than just a for a single intact frame. Every Design: Georgia Tribuiani, graphic style: it should be the image that begins to take shape Clarisa Valdez very mechanism that drove the never achieves its complete form; Animation: Andrew Hildebrand, animation forward. We started by every ripped bit of paper reveals Jonny Sidlo, Gary Mau, preparing simple animations in something from another point in Troy Barsness After Effects, primarily featuring time. The spot resolves itself only Editor: Gabriel Diaz typography and collage-like at the end, unveiling the name graphics representing key Capitu: the only person who holds Music: “Mocambo” by Shock concepts of the story. These the key to the mystery of the story.” Bukara stash 58.11 stash 58.12

“Miami Muerte” BooneOakley.com Self promo 1:01 “Home Page” Self promo 2:59 Director: Director: Charles-Henri Clodion BooneOakley Production: Animation: WIZZdesign BooneOakley Animation/VFX: www.booneoakley.com WIZZ North Carolina ad agency www.wizz.fr BooneOakley seperate themselves “Miami Muerte” is the latest in- from the mega-corp world of house video from Paris based major agencies by inserting their WIZZdesign artists Matthieu new website into YouTube and Javelle and Maud Dardeau telling their iconoclastic story with known in illustration circles as minimalist doodle animation while Jeanspezial. The live action taking advantage of new YouTube footage was captured when the features including annotations and duo were preparing a one-of-a- hyperlinks. kind decorated bust for a recent For BooneOakley exhibition of their work hosted in CDs: John Boone, David Oakley the Wizz studio space. Animation: Jim Robbins, The animation team at WIZZ Ryan Holland embellished the video with their own brand of quirky animated characters and motion designs in time to have the video play as part For WIZZ Toolkit of the big event. Editor: Jérome Lozano Maya, Flash, After Effects, Flame, 2D lead: Philippe Valette Photoshop, 3ds Max, Avid, Pro For WIZZdesign 2D: Sebastien Filinger, Matthieu Tools Producer: François Brun Wothke, Clement Soulmagnon, Artists/illustrators: Jeanzspecial Gary Levesque, Corentin Rouge, (Maud Dardeau & Matthieu Javelle) Oerd van Cuijenborg Director: Charles-Henri Clodion Music/sound design: Bypass.studio stash 58.13 stash 58.14

AIDS-Hilfe Frankfurt “Legerete Digital” TVC :40 Short film 1:07

Agency: Agency: McCann Erickson gkaster Frankfurt Director: Directors: Magnol Pierre Marcel Pelzer, Animation: Alex Kähler gkaster Animation: www.gkaster.com dondon Responding to an open brief from www.dondonberlin.com video game magazine Amusement Marcel Pelzer, director at Berlin skills, hard-edged coding gave to create a film on the theme of motion graphics studio dondon us the ability to push the limits.” “digital”, French motion designer/ on this randy and surprising AIDS Schedule: eight weeks. director Magnol Pierre concocts spot seen in cinemas and on MTV what he calls “a tribute to Tron, in Germany: “Nobody wants to For McCann Erickson Frankfurt Akira and Bladerunner – my be reminded of using a condom Ex CD: Rainer Bollmann aim was to find some common but it’s simple and essential. So Creative team: Thomas Auerswald, elements is those three movies: we went another way around: Ortwin Marx neon, lights, dark matter, colors by baffling the viewer we involve Producer: Mark Róta that shine in the dark. It took me him. Our interpretation – using For dondon 15 days to think about the design typography to build characters Directors: Marcel Pelzer, and I did the animation in eight – lead us to the interesting issue Alex Kähler days.” of just how much sex you can Artist: Marcel Pelzer, Alex Kähler actually show. For gkaster Character modeling/rigging: Director: Magnol Pierre “We have been in love with Fabian Rosenkranz AD/animation/motion designer/ Trapcode particle tools for a For Sizzer, Amsterdam modeler: Magnol Pierre long time. Combining character Music: Ivar Vermeulen, Martijn van Audio: Phil Gully animation done in Cinema 4D Waveren, Merlijn Verboom and After Effects-based particles Toolkit was much more an entertaining Toolkit Cinema 4D, After Effects, Final Cut noodling around than cutting to After Effects, Cinema 4D, the chase. Besides animation Trapcode particle tools Overdose on motion. In a good way. STASH SIXPACK 8 DELIVERS 9+ HOURS OF INSPIRATION

THIS LIMITED EDITION SIX-DISK SET INCLUDES: + BONUS FILMS: • The complete disks from issues 43-48 of • STUDENT FILM MINI-FEST 2 STASH DVD MAGAZINE • /MTV “BLOOM” WINNERS X 10 • Work from over 152 international studios • ADOBE PHOTOSHOP “SEE WHAT’S POSSIBLE” • Over 180 outstanding animation, VFX and motion graphics CHALLENGE WINNERS X 11 projects including: • STUDENT FILM MINI-FEST 3 - TV and cinema commercials • 2008 CHANNEL FREDERATOR AWARD WINNERS - music videos • STUDENT FILM MINI-FEST 4 - broadcast design - virals + 40 BONUS MP3 tracks from these labels: - branded content • POLYVINYL RECORDS - game cinematics • SUICIDE SQUEEZE RECORDS - short films • FLAMESHOVEL RECORDS • FAR EAST RECORDING + Behind the scenes extras • GHOSTLY RECORDS

+ Hi-res PDF files of the • KEMADO RECORDS 40-page booklets for all six disks GRAB YOURS AT www.stashmedia.tv/collections stash 58.15 stash 58.16

Murat Pak “Orange Love” Fight Like Apes “Garamond” “Tie Me Up in Jackets” Short films x 2 :60, 1:10 Music video 2:33 Director: Murat Pak Director: Animation: Eoghan Kidney UNDREAM Production: www.undream.net Eoghan Kidney, Turkish motion designer Murat Pak Ciaran “Corey” Crowley raises his profile with two striking Animation/VFX: and tastefully executed personal Eoghan Kidney projects. www.myspace.com/kidneyfilm Music: Fc Kahuna – Hayling Director Eoghan Kidney pushes (Orange Love) the concept of low-budget music videos to new lengths by shooting Toolkit Irish band Fight Like Apes against Cinema 4D, After Effects, Fusion a blue bed sheet held up with gaffer tape, editing and timing out the animation himself, then printing out individual frames so his roommate Ciaran Crowley could paint over them. He then scanned the acrylic paintings back into the edit and composited. With only three weeks to complete Directed/produced/shot: the project and 1,300 images to Eoghan Kidney create, Kidney says Crowley was Painter: Ciaran “Corey” Crowley painting at a furious rate. “I knew Editor/compositor: Eoghan Kidney Ciaran would end up doing them Assistant compositing: faster towards the deadline so I Lena Talena deliberately got him to do a section Co-produced: Fionn Kidney at the end first, that way there isn’t Gaffer: Leon Giblin such an obvious decline in the Toolkit detail.” After Effects, Premiere, Photoshop stash 52.17

The Dead Pirates “Wood” Music video 5:29

Record label: Dirty Melody Records Directors: Matthieu Bessudo Simon Landrein Production: The Mill Animation: McBess Simon LandrEIn www.mcbess.com www.simonlandrein.com Working with the simplist of briefs, “make something fun” from Dirty Melody Records, co-directors Simon Landrein and Matthieu Bessudo (McBess), both recent Supinfocom grads, set forth to craft this chroma-challenged 3D caper for their own band The Dead Pirates. Admitting the main struggle was merely keeping themselves organized, the pair worked hard to preserve an illustrative feel to the 3D work and completed the video in three and a half months with Thanks: Asterokid, Mooe, help from colleagues at The Mill – Dr Mushroom, Motraboy where both Bessudo and Landrein Toolkit work as 3D animators. XSI, Photoshop, Shake, Final Cut, GarageBand stash 52.18 stash 58.19

“yim” “Sorry I’m Late” Short film 5:27 Short film 3:11

Directors: For c-major studio Director: Wilson Chui Directors: Wilson Chui, Tomas Mankovsky Valerie Chan Valerie Chan Production/animation: Animation: Storyboard: Wilson Chui Blinkink C-major studio Character/background design: www.blinkink.co.uk www.c-majorstudio.com Wilson Chui Background/object illustration: Post: Hong Kong motion designers Valerie Chan MPC Wilson Chui and Valerie Chan Style development: Wilson Chui, www.moving-picture.com know how the film would turn For Blinkink For Major Tom out, how long it would be, how make good on their promise to use Valerie Chan After two years in and out of Producer: Rhun Francis Composer: Keith Kenniff the body moves would look, etc.” their studio c-major as a platform Art/action direction: Wilson Chui production, ex-Fallon creative (and Director: Tomas Mankovsky Music super: Mark Kirby “to present our thoughts on social After four very long shoot days, DOP: Trevor Forrest Animation/compositing: Wilson now full time Blinkink director) Toolkit or even worldwide issues” with the team began “fiddling around Offline editor: Tomas Mankovsky Chui, Valerie Chan Tomas Mankovsky releases his Stop Motion Pro, After Effects this short confronting their city’s in post, painting away unwanted Sound effects: Valerie Chan three-minute labor of love stop- For MPC ambitious reconstruction plan shadows and getting the music Watch Behind the Scenes on Music: Wilson Chui motion short. James Bretton, Flame: Ziggy and hoping to “preserve our local right.” Post schedule: “Four the DVD producer at Blinkink in London: Colorist: Kenny Gibb Toolkit months as we had absolutely no culture and historic traces.” “Because every frame was based Flash, Photoshop, After Effects, budget.” “The main technical challenge was Premiere Pro, Reason on a ‘gut feel’ it was difficult to to simulate a pencil-drawn, frame- by-frame and watercolor feeling. All character animations were done in Flash using both tweening and frame-by-frame. During the preproduction stage we had done some experiments using After Effects to make the animations look more lively instead of being too digital.” Schedule: three months for preproduction, three months for production. stash 58.20 stash 58.21

Paul McCartney The Prodigy “Dance Tonight” “Warrior’s Dance” Music video 4:43 Music video 3:29

Client: Record label: MPL Communications Ltd Cooking Vinyl Director: Director: Corin Hardy Post: Production/animation: Moving Picture Company Academy Films www.moving-picture.com www.academyfilms.com The boistrous spectral visitations Crew Fire ghost: Franziska Koller Post: in this classic Paul McCartney Director: Michel Gondry Tree ghosts: Lana Maltseva, Soho Post video are not created with the Producer: Grace Bodie Oxana Maltseva www.sohopost.co.uk expected digital compositing tools PM: Francis Mildmay White Frame ghosts: Liz Dickenson, UK director Corin Hardy harbored but were captured in-camera 1st AD: Rawden De Fresnes Bernard Sharpe a dream. For ten years he yearned by director Michel Gondry using DP: Jean Louis Bompoint| Food ghost: Marc Reid to use puppets made from torn the 19th century magician’s trick Camera operator: Guy Hazel Laundry ghost: Sacha Bourdo cigarette packets for... something. known as Pepper’s Ghost. The Production designer: Chris Oddy For Moving Picture Company Anything. Then, suddenly, along illusion involves a large sheet of AD: Stephane Rozenbaum Producer: Justin Brukman comes an adventurous label and glass angled at 45 degrees to the Costume designer: Flame: Paul O’Shea an agreeable band and his vision camera to reflect out-of-frame Florence Fontaine Colorist: Jean Clement Soret is set free. action into the scene. Natalie costume designer: shots were created in stop motion. For Academy Films For Final Cut Stella McCartney For The Whitehouse “Two kinds of puppets were made, Partizan Films producer Grace Camera moves were added in Director: Corin Hardy Editor: Amanda Jones Ghosts chief make up/hair: Offline Editor: Russell Icke the ones for stop motion were Bodie: “The entire house interior post. Only the peanut was done Producer: Liz Kessler Carol Hart much stronger and had internal was built in a studio, with each For Streeters in CG.” DOP: Stuart Bentley Art director: Laura Johnstone Construction: Watson Brown armatures – externally the design room having an exact black Natalie makeup: Emma Koch Animation: Corin Hardy, Casting director: Simon Allen for both was identical in every way. Schedule: 10 days of pre- Puppeteers: Dark Vast replica off to the side (complete Natalie hair: Jonny Sapong Gary Carse Choreographer: Blanca Li production, two-day shoot, four with furniture painted black and “There was also a set of puppet Special FX: David Payne SFX: Asylum SFX weeks for animation, one week for For Soho Post inverted). The two rooms were heads that were much larger for PA: Martin Poyner edit, three weeks of post (including Post production: Amarjeet Singh, Sound design/mix: separated by sheets of glass, so the close-up expressions; these compositing, grade and sound Luti Fagbenle, Lee Watson David Darlington, Tom Warren all the action that occurred in the Cast were all done as stop motion. mix). ‘black’ room would be reflected Mandolin ghost: Natalie Portman About 75 percent of the video is For Portobello Post Toolkit as a ghostly figure on the glass in Postman: Mackenzie Crook puppeteered (we removed the For Cooking Vinyl Grade: John Holloway Final Cut, After Effects front of the ‘real’ room. Cutlery ghost: Mark Tait puppeteers in post), the rest of the Commissioner: Rob Collins stash 58.22 stash 58.23

Birdy Nam Nam Action for Children “The Parachute Ending” “Lee’s Story”, “Dan’s Story” Music video 3:18 TVCs :50 x 2 Record label: Agency: Has Been / Savoir Faire Baby Creative Director: Director: Steve Scott Dan Sumich Production: Production: Not To Scale Passion Pictures Animation: Animation/VFX: Not To Scale Passion Pictures www.nottoscale.tv www.passion-pictures.com French DJ crew Birdy Nam Nam UK charity AFC bust out of the go back to the future via this TV clutter with a pair of powerful tripped out tale of weirdness narratives and arresting visual from their new album “Manual storytelling by director Dan Sumich for Successful Rioting” directed and the team at Passion Pictures by Steve Scott of Not to Scale in London. and based on illustrations by Will Director Dan Sumich: “Creating Sweeney. Steve Scott: “Finishing these films with the agency was over sixty shots in a just over a extremely collaborative. As we abandoned cement factory and For Passion Pictures Animation checker: Tony Clarke month was a little frightening. From discussed the children’s stories photographed frame by frame over Director: Dan Sumich Camera assistants: Geoff Robbins, storyboarding, to animatics and and the visuals to accompany an eight-day shoot. Scenic painters: Peter Davis, Rob Mark Swaffield, George Milburn then animation and compositing, Dyson, Lance Smith, Jason Line Compositors: Ray Lewis, them, each film evolved to include For Baby Creative with some shots containing over For Has Been / Savoir Faire Animators: Geoff Mac Dowell, Toolkit 2D design: Dan Sumich, Lee Gingold, Ed Salkeld different animation styles. The use Producer: Julie Anderson twenty separate elements or Commissioner: Ed Willmore Flash, After Effects Heath Kenny, Rob Valley Toonz: Tim King, Phil Holder of simple hand made animation Creatives: Fabrice Ward, more – the task was daunting. We Alexandra Pilz Hayot Animator: Roly Edwards 2D animation: Heath Kenny, Runner/driver: Ben Ferguson, Watch Behind the Scenes on techniques, real materials and live Steven Grime got over the finish line shattered Digital painter: Dele Nuga John Robertson, Dan Sumich Ted Beagles, Collin Paterson For Not To Scale the DVD action backgrounds underlines Producers: Erika Forzy, but ecstatic with the results. Compositor: James Littlemore Editor: Jaime Rubio, Runners: Tom Lancaster, Director/concept/animator/ the integrity and reality of the Debbie Crosscup Thanks also to Will, the band and PA: Kelly Ford Dan Greenway, Tim King Robin Bushell, Michael Sofoluke compositor: Steve Scott children’s personal stories.” EP: Hugo Sands label for giving us such free reign Stopframe: Dan Sumich, Illustrator/concept: Will Sweeney For Big Active Live action producers: and not adding to our task with The graffiti animation of “Lee’s Darren Walsh EP: Dan O’Rourke Illustrator/concept: Will Sweeney Patrick Duguid, Debbie Crosscup unnecessary tweaks.” Story” was painted directly VFX super: Neil Riley Producer: Lottie Hope Illustration producer: Greg Burne DP: Ray Lewis onto the walls and floors of an Animation assistant: Simon Swales AD: Katie MacGregor stash 58.24 stash 58.25

Nestlé “Club Chocolate” Europride 09 “Pufff” TVC :30 TVC :39

Agency: Agency: JWT Sydney TBWA/Zurich Director: Director: Andrew van der Richard Hickey Westhuyzen Production: Production/animation: Grasshopper Films Collider For Europride Animation/VFX: www.collider.com.au Client: Michael Ruegg The House of Curves The team at Collider in Sydney www.thehouseofcurves.com For TBWA/Zurich dive headlong into the reality CD: Urs Schrepfer London animation studio The of chocolate physics to mimic AD: Adrian Egger House of Curves gets in touch the viscosity and other fluidly Copy: Tobias Buhlmann with its inner drag queen in this particulars of the delicious liquid. Producer: Daniela Berther 39-second outing for the 2009 Director, Andrew van der Europride festival. THoC director/ For Grasshopper Films Westhuyzen explains: “The Nestlé producer Andrew Daffy: “We Director: Richard Hickey people know chocolate intimately, had to come up with a character Producer: Clare Spencer how it moves, the speed it moves, to represent ‘gay’ and slip in DP: Adam Frisch how its color behaves. So getting gags that didn’t come across Production designer: James Hatt Cast and Crew AD assistants: Ben Lack, the simulations and surfaces as offensive but were globally Voice: Richard Laing Husband: Richard Woolnough Sam Waters, Emma Svensson feeling right was a long process of recognizable as gay iconography. For The House of Curves Wife: Hilary Field Makeup artist: Emma Sherry studio photography and footage The drag queen was chosen as For JWT Sydney For Collider VFX/animation director/producer: Storyboard: Laurie Proud On set costume designer: capture purely for reference.” a kind of fairy godmother-like ACD: John Lam Director: Andrew van der Andrew Daffy Production assistant: Lori Land representative.” After 10 weeks of production, Sr writer: Simon Armour Westhuyzen Technical director: Matt Estela George Nelson Toolkit “Thirty blocks of Club Chocolate AD: Blair Kimber EP: Sam Zalalaiskalns Technical challenges? “The Birdcage animation: Xavier Roig Runners: Phil O’Conner, Maya, mental ray, Photoshop, were harmed (melted) in the Producer: Amanda Slatyer Producer: Pat Dedal combination of HD plates, a Brian Fairbairn For Rushes After Effects, the Setup Machine, making of this clip. Many more Lead animator/TD: singing character with cloth, Focus puller: Charlie Herranz Toolkit Colorist: Adrian Seery BlendShape, Sunit Parekh’s were eaten, mauled, munched Hugh Carrick-Allen individual sequins and a feathery Grip: Pete Nash Maya, Real Flow 4, Shake Pelting Tool, Davina Hair, Frischluft, over several months. There are Fluid simulation TD: boa, as well having to hit the right For 750 MPH DIT: Tom Mitchell Starglow, Resolve now random half eaten chocolate Serge Kovalenko tone with its target audience was Sound engineer: Sam Ashwell Gaffer: Fred Todd packs throughout Collider waiting Lighting TD: Dylan Neill a continuous struggle.” Production Sound producer: Syleste Electrician: Dave Nye Watch Behind the Scenes on to be found.” Lead compositor: Jamie Watson schedule: 10 weeks. Molyneaux the DVD stash 58.26 stash 58.27

“Eole” Grizzly Bear “Two Weeks” Student film 6:51 Music video 4:11

Record label: For Director’s Bureau School: Warp Records Director: Patrick Daughters SUPINFOCOM Arles Director: Producer: Karen Lin Directors: Patrick Daughters For Final Cut Aurélien Martineau Production: Editor: Stephen Berger Etienne Metois Moana Wisniewski Director’s Bureau For The Mill VFX: Producer: Lee Pavey Co-directors Aurélien Martineau, The Mill Lead Flame: Tara Demarco Etienne Metois, Moana Wisniewski: www.the-mill.com Flame: Giles Cheetham, Billy “Eole is a short film made during Higgins, Jesse Monsuier, advanced computer graphics Brooklyn’s favorite ursine indie Ross Goldstein, Cole Shreiber, classes at Supinfocom Arles in group take on a whole new glow Naomi Anderlini, Westley Sarokin, France. As usual in the school, the in the hands of director Patrick Alex Lovejoy, Aska Otake, last year of study is for making a Daughters and a battalion of Flame 3D film in groups of three or four John Ciampa also paid special attention to to visualize the structure. We then passes and optimize the file in talent at The Mill in LA. students, from the idea to the final Flame assist: Gavin Camp, the composition and the lighting made a 2D storyboard and a first order to render it. compositing. Lead Flame artist Tara DeMarco: Melissa Graff, Gigi Ng, of every shot: we worked in a 2D animatic. Due to the poetic “Post-production consisted of “We were asked to make the skin Keith Sullivan, Suzanne Dyer “The military world is tough, hard, photographic way. aspect of the film we also made putting all the rendering passes porcelain-like – smooth and shiny Telecine: Jamie Wilkinson noisy, heavy and metallic, whereas an animated color board which “Making this film in full 1080p HD together, adding FX, correcting with a transparent prosthetic- 3D: Aaron Grove the kite conveys a feeling of calm allowed us to visualize colored was definitely the main technical rendering issues, adjusting colors, like quality.” The stark and eerie and simplicity. This opposition is ambiances of key scenes. We also Toolkit challenge. We had to divide each and making the final cut of the look of the band members’ faces actually the main artistic direction defined the main character design Flame, Combustion, Maya, frame in multiple passes and be film. We started post-production goes beyond their complexions of the entire project. For example, in the same time and we finally Baselight careful about the polygon count of each scene as soon as its with not only the enlargement of at the beginning of the film, we made a 3D animatic, which was and very careful about map sizes. production was done, still working their eyes but the compositing of decided to move the camera faster the more important document for We had to find ruses, and develop on production of the other scenes mismatched left and right eyes than when the main character the production phase. our own techniques to manage the at the same time.” selected from different takes. In discovers the kite and the moves rendering – one frame, with all its “When all animation of a scene total the Mill’s team of compositors begin to be smoother and more Score: Soheil Forhoui components, took about one hour was done, we put a preview of completed 68 effect shots. aerial. The sound design follows to render. it into the 3D animatic to see Toolkit those same rules and works on if it really worked. Then, when 3ds Max, mental ray, After Effects oppositions too. And from those “First, we worked together on the materials and lighting were done, elements should arise a poetic script and made a schematic view Watch Behind the Scenes on we had to prepare all the rendering feeling in the viewer’s mind. We of the movie that we put in a table, the DVD stash 58.28

“ASSAssIN’S CREED 2” Video game trailer 3:58

Developer: UBISOFT Director: DIGIC Animation: DIGIC www.digicpictures.com Budapet-based Digic Pictures continues to dazzle the video game world with this full-CG trailer for the sequel to Ubisoft’s Assassin’s Creed releasing late 2009 on PS3, Xbox 360 and PC. stash 58 BONUS FILM

“Varmints” Short film 24:00 Director: Marc Craste Production/animation/VFX: studio aka www.studioaka.co.uk Varmints, Marc Craste’s newest animated masterwork, is a 24-minute tale of hope and sacrifice based on his award- winning book collaboration with UK writer Helen Ward. The film continues a series of daring in- house projects undertaken by London’s Studio aka who self- financed the 18-month production. Studio aka producer Sue Goffe: “The original text of the book is spare and poetic and in no way fits a conventional notion of ‘story’. So the challenge was to tell this with London studio The House For Studio aka Modelling/texturing: William Eagar, Mic Graves, Maarten Heinstra, For The House of Curves Solo soprano: Michaela Srumova Cast oblique tale without dialogue or of Curves began in early 2007. Written/designed/directed: James Gaillard, Daniel Garnerone, Boris Kossmehl, Perrine Marais, Previsualization: Andrew Daffy, Orchestra contractor: Siberian lynx: Bill even a narration, using the visuals As production progressed, the Marc Craste Sander Jones, Anna Kubik, Rob Matt Morris, Amandine Pecharman Matt Estela, Anna Kubik James Fitzpatrick Red panda: Li Yee and music to carry the emotional team assimiliated animators from Producer: Sue Goffe Latimer, Markus Lauterbach, Matt Effects/simulation: Fabrice Altman, Performed by the city of Prague Ocelot: Santos Music composer: weight. New elements were Germany and France as well as CGI super/production design: Morris, Andy Staveley Adam Avery, Rob Chapman, Philharmonic Orchestra and Margay: Balancanche introduced to expand the story any talent between commercial James Gaillard Character modeling: Adam Avery, Daniel Garnerone, Chris Rabet, Johann Johannsson Chorus Toolkit and add drama, but always with work in the London studio. Music: Johann Johannsson James Gaillard Andy Staveley Additional orchestration: Additional recording and mixing Softimage, Photoshop, the spirit of the book foremost in Sound design: Adrian Rhodes Character face rig: Matt Morris Lighting/rendering/compositing: Nicklas Schmidt Varmints has won multiple at Syrland Studios Reykjavik and After Effects everyone’s minds.” EPs: Pam Dennis, Sue Goffe, Rigging: Fabrice Altman, Maarten William Eagar, James Gaillard, Conductor: Miriam Nemcova accolades on the festival circuit Concert master: Bohumil Kotmel Ntov Copenhagen Craste began the script in the late Philip Hunt Heinstra, Matt Morris Daniel Garnerone, Sander Jones and was shortlisted for an Recorded at Smecky Music Studio Sound design: Adrian Rhodes summer of 2006, with sequences Storyboard: Amandine Pecharman Animation: Klaus Morschheuser, Technical support: Fabrice Altman, Academy Award in 2009. Prague Production assistants: Kaye written and mapped out in rough Character development: Fabienne Rivory, Lucas Vigroux, Rob Chapman, Nic Gil Recording engineer: Jan Holzner Lavender, Ren Pesci, Cat Scott storyboards; previsualisation Steve Small Johannes Weiland, Dave Antrobus, Go here: www.stashmedia.tv/promo Enter this: bk58obc Save this: $$$ Seriously. Do it NOW because the economy blows and you need to buy beer and feed the cat and so saving tons of cash on Stash stuff makes like, too much sense.